Ludwig van Beethoven (1770-1827) fue un compositor alemán que marcó la transición entre el Clasicismo y el Romanticismo. Nacido en Bonn, Alemania, Beethoven compuso obras en diversos géneros musicales que trascendieron su época, incluyendo nueve sinfonías innovadoras, 32 sonatas para piano y cuartetos de cuerda. Aunque comenzó su carrera siguiendo los modelos clásicos de Mozart y Haydn, sus obras posteriores incorporaron nuevas técnicas arm
Georg Friedrich Handel fue un compositor del barroco británico nacido en 1685 en Alemania que destacó por sus 43 óperas, 26 oratorios y su obra más famosa El Mesías. Trabajó en Italia, Hanóver y Londres, donde murió en 1759 tras quedar ciego. Dominaba el órgano y el clavecín y compuso una gran variedad de obras vocales e instrumentales que le valieron elogios como "el compositor más grande que ha existido".
This document provides an overview of classical composers and genres, focusing on Vienna in the late 18th and early 19th centuries. It describes the dominance of the Viennese School and notable composers including Haydn, Mozart, and Beethoven. Haydn is considered the father of the symphony, composing over 100, while Mozart produced famous operas and concertos before dying at age 35. Beethoven was a transitional figure between classical and romantic eras, producing heroic symphonies including his famous Symphony No. 5, which features the well-known "short-short-short-long" motif.
The symphonic poem evolved from the concert overture as a single movement work that used instrumental music to depict a dramatic narrative through contrasting sections. Peter Tchaikovsky was one of the major composers of symphonic poems, including Romeo and Juliet which uses three themes to capture the spirit of the play. Johannes Brahms was a conservative composer who used classical forms for works like his Fourth Symphony and Third Violin Concerto. Antonin Dvorak incorporated folk melodies from his native Bohemia into nationalist works for the growing genre, exemplified by the "New World" Symphony's inspiration from his time in America.
The art song flourished in the Romantic period as composers sought to capture the emotional impact of poetry through music. The genre is well-suited for personal expression, using a solo voice accompanied by piano. Notable composers of lieder, the German art song, included Franz Schubert and Robert Schumann. Their songs often combined to form song cycles on a theme. Character pieces for solo piano were also a form of program music from this era, allowing composers like Chopin to portray a mood or moment through music. Larger programmatic works included Berlioz's Symphonie Fantastique, which used a recurring theme to unite a multi-movement work depicting a story.
Ludwig van Beethoven (1770-1827) fue un compositor alemán que marcó la transición entre el Clasicismo y el Romanticismo. Nacido en Bonn, Alemania, Beethoven compuso obras en diversos géneros musicales que trascendieron su época, incluyendo nueve sinfonías innovadoras, 32 sonatas para piano y cuartetos de cuerda. Aunque comenzó su carrera siguiendo los modelos clásicos de Mozart y Haydn, sus obras posteriores incorporaron nuevas técnicas arm
Georg Friedrich Handel fue un compositor del barroco británico nacido en 1685 en Alemania que destacó por sus 43 óperas, 26 oratorios y su obra más famosa El Mesías. Trabajó en Italia, Hanóver y Londres, donde murió en 1759 tras quedar ciego. Dominaba el órgano y el clavecín y compuso una gran variedad de obras vocales e instrumentales que le valieron elogios como "el compositor más grande que ha existido".
This document provides an overview of classical composers and genres, focusing on Vienna in the late 18th and early 19th centuries. It describes the dominance of the Viennese School and notable composers including Haydn, Mozart, and Beethoven. Haydn is considered the father of the symphony, composing over 100, while Mozart produced famous operas and concertos before dying at age 35. Beethoven was a transitional figure between classical and romantic eras, producing heroic symphonies including his famous Symphony No. 5, which features the well-known "short-short-short-long" motif.
The symphonic poem evolved from the concert overture as a single movement work that used instrumental music to depict a dramatic narrative through contrasting sections. Peter Tchaikovsky was one of the major composers of symphonic poems, including Romeo and Juliet which uses three themes to capture the spirit of the play. Johannes Brahms was a conservative composer who used classical forms for works like his Fourth Symphony and Third Violin Concerto. Antonin Dvorak incorporated folk melodies from his native Bohemia into nationalist works for the growing genre, exemplified by the "New World" Symphony's inspiration from his time in America.
The art song flourished in the Romantic period as composers sought to capture the emotional impact of poetry through music. The genre is well-suited for personal expression, using a solo voice accompanied by piano. Notable composers of lieder, the German art song, included Franz Schubert and Robert Schumann. Their songs often combined to form song cycles on a theme. Character pieces for solo piano were also a form of program music from this era, allowing composers like Chopin to portray a mood or moment through music. Larger programmatic works included Berlioz's Symphonie Fantastique, which used a recurring theme to unite a multi-movement work depicting a story.
During the Baroque era, instrumental music became as important as vocal music. Important instrumental forms that developed included the solo concerto, concerto grosso, suite, and fugue. Notable composers who helped establish these forms included Vivaldi, Bach, and Handel. Their works, such as Vivaldi's Four Seasons and Bach's Brandenburg Concertos, are still popular today and demonstrate the expressiveness of Baroque instrumental music.
The document discusses the history of classical opera and choral music, focusing on Italian, German, and Viennese styles. It covers the reforms of Christoph Gluck, who strove for simplicity and drama in Italian opera seria. Italian opera buffa was sung in the language of the audience and was based on daily life. The German Singspiel incorporated spoken dialogue. The document also provides an in-depth biography of Wolfgang Amadeus Mozart, who was a child prodigy and composed over 600 works across major genres including opera, symphonies, and chamber music.
El documento resume los principales movimientos artísticos y características musicales del siglo XX. En la primera mitad del siglo, surgieron estilos como la atonalidad, el dodecafonismo y el neoclasicismo. En la segunda mitad, se desarrollaron nuevas técnicas como la música concreta, electrónica y electroacústica, además del serialismo integral, la música aleatoria, textural y el minimalismo. El arte reflejó las tensiones políticas de la época y la música evolucionó alejándose de la
Antonio Vivaldi was an Italian Baroque composer, virtuoso violinist, and Catholic priest born in Venice in 1678. As a child, he learned to play the violin from his father and toured Venice performing. He became a priest, though continued composing primarily religious works. For nearly 30 years, he worked at an orphanage in Venice, where he composed and performed with the girls' choir and orchestra. His most famous work is The Four Seasons, though his style later fell out of fashion and he died in poverty in Vienna in 1741.
El documento describe el desarrollo de la polifonía musical desde el siglo IX hasta el período Ars Antigua entre los siglos XII y XIII. La polifonía surgió de la combinación de melodías simultáneas y fue desarrollada por compositores como Leonín y Perotín en la escuela de París. Ellos introdujeron formas polifónicas como el organum, discantus y canon, y establecieron la técnica del contrapunto como base de la polifonía.
Antonio Vivaldi fue un compositor y violinista italiano del Barroco nacido en Venecia en 1678. Compuso más de 770 obras, incluyendo 477 conciertos y 46 óperas. Es más conocido por su obra Las cuatro estaciones, en la que representa brillantemente los sonidos de la naturaleza en cada estación del año. Fue uno de los precursores de la música romántica y colaboró con Johann Sebastian Bach.
U.D .LA MÚSICA DEL CLASICISMO. Es una U.D . con unos contenidos adaptados a alumnos que están cursando 3º ESO en la materia de música, y a su vez a otras personas que les pueda interesar las características de la música del clasicismo.
The document provides an overview of classical music genres including the symphony, string quartet, sonata, and concerto. It notes that the symphony evolved from the Italian overture and came to feature four movements. The string quartet was created by Haydn and featured equal participation by four string players. The concerto featured a soloist playing against a full orchestra in a three-movement structure with a double exposition in the first movement.
This document discusses classical music forms such as sonata form, rondo form, and theme and variations. It notes that classical music featured elegance, symmetry, and homophonic textures. Sonata form involved an exposition with themes, a development section, and recapitulation. Rondo form had a recurring theme between contrasting sections. Multimovement forms like the symphony typically included four movements in prescribed tempos and forms.
Johann Sebastian Bach nació en Alemania en 1685 y murió en 1750. Se casó dos veces y tuvo 20 hijos, varios de los cuales también se dedicaron a la música. Bach trabajó como organista y maestro de capilla en varias iglesias y cortes alemanas a lo largo de su vida, componiendo numerosas obras maestras de la música barroca, particularmente cantatas y obras para órgano.
El documento resume las principales formas musicales barrocas como la aria da capo, la suite y el concierto. La aria da capo tiene una forma ternaria ABA donde la sección B está en la tonalidad relativa. La suite sigue una forma binaria AB y normalmente incluye danzas como la alemana, sarabanda, courante y guigue. El concierto barroco se caracteriza por el uso del ritornelo donde intercalan secciones del solista y del tutti.
George Frideric Handel was a German-born Baroque composer who was highly influential in the English classical music tradition. He was born in 1685 in Germany to a wealthy father who disapproved of music as a career. Handel moved to London in 1712 and became a renowned composer of Italian opera and English oratorio, with his most famous work being Messiah. His oratorios like Messiah were hugely popular in England as they appealed to the rising middle class. Handel composed his works up until his death in 1759, leaving a significant mark on classical music.
El documento describe la música del Renacimiento en Europa entre los años 1400 y 1600. Las características de este período incluyen la textura polifónica siguiendo las reglas del contrapunto y el sistema modal heredado del canto gregoriano. Las formas musicales más populares fueron la misa, el motete, el madrigal y las danzas. Compositores destacados incluyen a Josquin Desprez, Palestrina, Orlando di Lasso y Tomás Luis de Victoria.
The Baroque period saw developments in musical notation and instrumental techniques. Tonality evolved with the establishment of major and minor scales. Baroque music is characterized by elaborate melodies, contrapuntal textures, and dynamic contrasts between loud and soft. Common forms included binary, ternary, ground bass, and fugue. Popular genres were the concerto, concerto grosso, oratorio, and chorale. Famous composers from this period were Johann Sebastian Bach, known for his sacred music, Antonio Vivaldi who composed instrumental concertos such as The Four Seasons, and George Frideric Handel best known for his oratorios including Messiah.
This document provides an overview of music in the Middle Ages, beginning with challenges in studying medieval music due to a lack of surviving sources. It discusses the development of sacred music within the Catholic Church and monasteries, including Gregorian chant and early notation systems. Secular music began to develop at royal courts and cities, using new polyphonic techniques like organum and motets. Important composer figures included Leoninus, Perotinus, Machaut, and Dufay. A variety of instruments and musical genres, both sacred and secular, emerged across Europe during this period.
Chapter 17 Remember Me: Personalizing the Motet in the RenaissanceLaura Riddle
During the Renaissance period from 1425-1600, humanism and a revival of ancient Greek and Roman ideals led to an emphasis on human interests, individual achievement, and rational inquiry through science, philosophy, and the arts. This inspired new developments in music, including the emergence of the motet genre, in which multiple voice parts sung sacred or secular texts simultaneously. The renowned Renaissance composer Josquin des Prez was highly influential with his motets and masses, bringing words and music together in a unified way through complex polyphonic structures and varying textures that conveyed the emotional meaning of texts. His motet "Ave Maria virgo serena" is an example that uses imitation, changes in meter and texture, and a final simple
The Baroque period of music lasted from 1600-1750. It was a time of experimentation and refinement where music became more emotionally intense, energetic, and featured dramatic contrasts and excitement. Some characteristics included expanded instrumental performance, and the establishment of new genres such as opera, cantata, oratorio, concerto, and sonata. Some famous Baroque composers included Johann Sebastian Bach, Antonio Vivaldi, Henry Purcell, and George Frideric Handel.
Antonio Vivaldi nació en 1678 en Venecia y se dedicó a la música. Fue ordenado sacerdote pero renunció debido a problemas de salud. Trabajó como maestro de violín en un orfanato femenino donde alcanzó renombre como compositor y violinista. Escribió cerca de 500 conciertos para diversos instrumentos como violín, su especialidad, y alcanzó fama en toda Europa.
The document provides information about Baroque music between the 17th and early 18th centuries. It describes the social and political context of the time, with monarchies, aristocracies, and the church holding power. Music was used to display authority in courts across Europe. The document outlines characteristics of Baroque music like basso continuo, melodies with accompaniment, and contrasts. It also discusses the development of instrumental music and forms like sonatas, concertos, and suites. Secular vocal music like opera and oratorios are also summarized. The document concludes with brief biographies of important Baroque composers like Bach, Handel, Vivaldi, and Corelli.
Este documento resume las principales formas orquestales clásicas como la sinfonía y el concierto, así como formas posteriores como el poema sinfónico. La sinfonía se consolida en el clasicismo y tiene cuatro movimientos, mientras que el concierto es una obra orquestal con un instrumento solista. Posteriormente surgen formas como el poema sinfónico inspirado en algo extramusical.
Französische Orgelmusik im 19. Jahrhundert, GeschichteHans Egg
Von Louis Daquin zu Louis Vierne
Frühklassik „Galanter“ Stil ca. 1750–1810
Klassizismus ca. 1800–1830
Frühromantik ca. 1820–1850
Hochromantik ca. 1840–1890
Symphonischer Orgelstil ab ca. 1850
Spätromantik ca. 1880–1920 (teils länger)
During the Baroque era, instrumental music became as important as vocal music. Important instrumental forms that developed included the solo concerto, concerto grosso, suite, and fugue. Notable composers who helped establish these forms included Vivaldi, Bach, and Handel. Their works, such as Vivaldi's Four Seasons and Bach's Brandenburg Concertos, are still popular today and demonstrate the expressiveness of Baroque instrumental music.
The document discusses the history of classical opera and choral music, focusing on Italian, German, and Viennese styles. It covers the reforms of Christoph Gluck, who strove for simplicity and drama in Italian opera seria. Italian opera buffa was sung in the language of the audience and was based on daily life. The German Singspiel incorporated spoken dialogue. The document also provides an in-depth biography of Wolfgang Amadeus Mozart, who was a child prodigy and composed over 600 works across major genres including opera, symphonies, and chamber music.
El documento resume los principales movimientos artísticos y características musicales del siglo XX. En la primera mitad del siglo, surgieron estilos como la atonalidad, el dodecafonismo y el neoclasicismo. En la segunda mitad, se desarrollaron nuevas técnicas como la música concreta, electrónica y electroacústica, además del serialismo integral, la música aleatoria, textural y el minimalismo. El arte reflejó las tensiones políticas de la época y la música evolucionó alejándose de la
Antonio Vivaldi was an Italian Baroque composer, virtuoso violinist, and Catholic priest born in Venice in 1678. As a child, he learned to play the violin from his father and toured Venice performing. He became a priest, though continued composing primarily religious works. For nearly 30 years, he worked at an orphanage in Venice, where he composed and performed with the girls' choir and orchestra. His most famous work is The Four Seasons, though his style later fell out of fashion and he died in poverty in Vienna in 1741.
El documento describe el desarrollo de la polifonía musical desde el siglo IX hasta el período Ars Antigua entre los siglos XII y XIII. La polifonía surgió de la combinación de melodías simultáneas y fue desarrollada por compositores como Leonín y Perotín en la escuela de París. Ellos introdujeron formas polifónicas como el organum, discantus y canon, y establecieron la técnica del contrapunto como base de la polifonía.
Antonio Vivaldi fue un compositor y violinista italiano del Barroco nacido en Venecia en 1678. Compuso más de 770 obras, incluyendo 477 conciertos y 46 óperas. Es más conocido por su obra Las cuatro estaciones, en la que representa brillantemente los sonidos de la naturaleza en cada estación del año. Fue uno de los precursores de la música romántica y colaboró con Johann Sebastian Bach.
U.D .LA MÚSICA DEL CLASICISMO. Es una U.D . con unos contenidos adaptados a alumnos que están cursando 3º ESO en la materia de música, y a su vez a otras personas que les pueda interesar las características de la música del clasicismo.
The document provides an overview of classical music genres including the symphony, string quartet, sonata, and concerto. It notes that the symphony evolved from the Italian overture and came to feature four movements. The string quartet was created by Haydn and featured equal participation by four string players. The concerto featured a soloist playing against a full orchestra in a three-movement structure with a double exposition in the first movement.
This document discusses classical music forms such as sonata form, rondo form, and theme and variations. It notes that classical music featured elegance, symmetry, and homophonic textures. Sonata form involved an exposition with themes, a development section, and recapitulation. Rondo form had a recurring theme between contrasting sections. Multimovement forms like the symphony typically included four movements in prescribed tempos and forms.
Johann Sebastian Bach nació en Alemania en 1685 y murió en 1750. Se casó dos veces y tuvo 20 hijos, varios de los cuales también se dedicaron a la música. Bach trabajó como organista y maestro de capilla en varias iglesias y cortes alemanas a lo largo de su vida, componiendo numerosas obras maestras de la música barroca, particularmente cantatas y obras para órgano.
El documento resume las principales formas musicales barrocas como la aria da capo, la suite y el concierto. La aria da capo tiene una forma ternaria ABA donde la sección B está en la tonalidad relativa. La suite sigue una forma binaria AB y normalmente incluye danzas como la alemana, sarabanda, courante y guigue. El concierto barroco se caracteriza por el uso del ritornelo donde intercalan secciones del solista y del tutti.
George Frideric Handel was a German-born Baroque composer who was highly influential in the English classical music tradition. He was born in 1685 in Germany to a wealthy father who disapproved of music as a career. Handel moved to London in 1712 and became a renowned composer of Italian opera and English oratorio, with his most famous work being Messiah. His oratorios like Messiah were hugely popular in England as they appealed to the rising middle class. Handel composed his works up until his death in 1759, leaving a significant mark on classical music.
El documento describe la música del Renacimiento en Europa entre los años 1400 y 1600. Las características de este período incluyen la textura polifónica siguiendo las reglas del contrapunto y el sistema modal heredado del canto gregoriano. Las formas musicales más populares fueron la misa, el motete, el madrigal y las danzas. Compositores destacados incluyen a Josquin Desprez, Palestrina, Orlando di Lasso y Tomás Luis de Victoria.
The Baroque period saw developments in musical notation and instrumental techniques. Tonality evolved with the establishment of major and minor scales. Baroque music is characterized by elaborate melodies, contrapuntal textures, and dynamic contrasts between loud and soft. Common forms included binary, ternary, ground bass, and fugue. Popular genres were the concerto, concerto grosso, oratorio, and chorale. Famous composers from this period were Johann Sebastian Bach, known for his sacred music, Antonio Vivaldi who composed instrumental concertos such as The Four Seasons, and George Frideric Handel best known for his oratorios including Messiah.
This document provides an overview of music in the Middle Ages, beginning with challenges in studying medieval music due to a lack of surviving sources. It discusses the development of sacred music within the Catholic Church and monasteries, including Gregorian chant and early notation systems. Secular music began to develop at royal courts and cities, using new polyphonic techniques like organum and motets. Important composer figures included Leoninus, Perotinus, Machaut, and Dufay. A variety of instruments and musical genres, both sacred and secular, emerged across Europe during this period.
Chapter 17 Remember Me: Personalizing the Motet in the RenaissanceLaura Riddle
During the Renaissance period from 1425-1600, humanism and a revival of ancient Greek and Roman ideals led to an emphasis on human interests, individual achievement, and rational inquiry through science, philosophy, and the arts. This inspired new developments in music, including the emergence of the motet genre, in which multiple voice parts sung sacred or secular texts simultaneously. The renowned Renaissance composer Josquin des Prez was highly influential with his motets and masses, bringing words and music together in a unified way through complex polyphonic structures and varying textures that conveyed the emotional meaning of texts. His motet "Ave Maria virgo serena" is an example that uses imitation, changes in meter and texture, and a final simple
The Baroque period of music lasted from 1600-1750. It was a time of experimentation and refinement where music became more emotionally intense, energetic, and featured dramatic contrasts and excitement. Some characteristics included expanded instrumental performance, and the establishment of new genres such as opera, cantata, oratorio, concerto, and sonata. Some famous Baroque composers included Johann Sebastian Bach, Antonio Vivaldi, Henry Purcell, and George Frideric Handel.
Antonio Vivaldi nació en 1678 en Venecia y se dedicó a la música. Fue ordenado sacerdote pero renunció debido a problemas de salud. Trabajó como maestro de violín en un orfanato femenino donde alcanzó renombre como compositor y violinista. Escribió cerca de 500 conciertos para diversos instrumentos como violín, su especialidad, y alcanzó fama en toda Europa.
The document provides information about Baroque music between the 17th and early 18th centuries. It describes the social and political context of the time, with monarchies, aristocracies, and the church holding power. Music was used to display authority in courts across Europe. The document outlines characteristics of Baroque music like basso continuo, melodies with accompaniment, and contrasts. It also discusses the development of instrumental music and forms like sonatas, concertos, and suites. Secular vocal music like opera and oratorios are also summarized. The document concludes with brief biographies of important Baroque composers like Bach, Handel, Vivaldi, and Corelli.
Este documento resume las principales formas orquestales clásicas como la sinfonía y el concierto, así como formas posteriores como el poema sinfónico. La sinfonía se consolida en el clasicismo y tiene cuatro movimientos, mientras que el concierto es una obra orquestal con un instrumento solista. Posteriormente surgen formas como el poema sinfónico inspirado en algo extramusical.
Französische Orgelmusik im 19. Jahrhundert, GeschichteHans Egg
Von Louis Daquin zu Louis Vierne
Frühklassik „Galanter“ Stil ca. 1750–1810
Klassizismus ca. 1800–1830
Frühromantik ca. 1820–1850
Hochromantik ca. 1840–1890
Symphonischer Orgelstil ab ca. 1850
Spätromantik ca. 1880–1920 (teils länger)
Takmičenje na portalu www.nasaskola.net
"biramo najbolju lekciju"
februar 2012. godine,
Bečki klasičari,
Muzička kultura,
Andrijana Petrović, I-1,
Svetlana Stojanović,
Prva niška gimnazija "Stevan Sremac"
Saint-Saëns, Offenbach Review by James Manheim
The graphics for this Deutsche Grammophon release show the young Franco-Belgian cellist Camille Thomas having a good time (with cello) in various European locations, and they capture the feel of the whole. Thomas states as her goal "to create a disc that would be filled with joy, emotion, and youth," and she hits this on the mark with tuneful music from start to finish. Saint-Saëns is conventionally in the "classical" sphere and Offenbach in the "light," but here they seem to go together naturally, and Thomas finds some unusual works to boot. Saint-Saëns himself arranged his Suite for cello and piano, Op. 16, for orchestra, and it's a sparkling, tuneful work. And if all you know of Offenbach is the famed Can-Can, sample the Introduction, Prière, et Boléro for cello and orchestra, Op. 22, for more tunes that you'll be humming after the disc or hard drive has finished spinning. With some nice bonus pieces from guest artists, this is an album that inhabits a youthful spirit rather than trying to scale the heights out of the box. Played with conviction, and highly recommended.
https://www.allmusic.com/album/saint-saëns-offenbach-mw0003104200
The successful duo of Raphaela Gromes and Julian Riem continues to enrich the Romantic
chamber music repertory with more and more new ideas and new arrangements, including
the three encores featured in the present release: two are compositions by the “Romantic
Titans” Schumann and Brahms, while the third is by the hugely talented Clara Wieck, who
later married Schumann and became a close friend of Brahms.
Teaching and Learning Experience Design – der Ruf nach besserer Lehre: aber wie?Isa Jahnke
Der Ruf danach, dass es bessere Lehre geben muss oder das Lehre verbessert werden sollte, ist nicht neu. Es gibt auch schon seit längerer Zeit Rufe danach, dass Lehre der Forschung in Universitäten gleichgestellt werden soll. (Und in den letzten Jahren ist in Deutschland auch einiges an positiven Entwicklungen geschehen, z.B. durch die Aktivitäten des Stifterverbands). Wie kann die Verbesserung der Lehre weitergehen? Fehlt etwas in dieser Entwicklung? Ja, sagt dieser Beitrag, der zum Nachdenken und Diskutieren anregen soll. In diesem Beitrag wird ein forschungsbasierter Ansatz zur Diskussion gestellt. Es wird argumentiert, dass Lehre nur dann besser wird, wenn es mit den Prinzipen der Wissenschaft und Forschung angegangen wird (d.h. gestalten, Daten erheben, auswerten, verbessern). Es benötigt neue Verhaltensregeln oder -prinzipien bei der Gestaltung von Lehrveranstaltungen. Das bedeutet zum Beispiel das Prinzipien der Evidenzbasierung und wissenschaftliche Herangehensweisen im Lehr-Lerndesign als zentrales Fundament etabliert werden sollte. Evidenzbasierung hier meint, folgt man der Logik der Forschung, dass Lehrveranstaltungen als Intervention verstanden werden. Mit dieser Intervention werden Studierende befähigt, bestimmte vorab festgelegte Kompetenzen zu entwickeln. Und die Frage, die sich bei jeder Lehr-Lernveranstaltung dann stellt, ist, ob diese Objectives bzw. Learning Outcomes auch erreicht wurden. Klar ist, dass die subjektive Lehrevaluation der Studierenden oder auch die Notengebnung nicht ausreichen, um diese Frage zu beantworten. Hierfür gibt es eine Reihe von Methoden, die genutzt werden können, z.B. aus dem Bereich des User- / Learning Experience Design. Diese Methoden umfassen unter anderem Usability-Tests, Learner Experience Studies, Pre-/Post-Tests, und Follow-up Interviews. Diese können zur Gestaltung und Erfassung von effektiven, effizienten und ansprechenden digitalen Lerndesigns verwendet (Reigeluth 1983, Honebein & Reigeluth, 2022).
Der Beitrag will die Entwicklung zur Verbesserung von Lehre weiter pushen. Neue Ideen in die Bewegung bringen. Als Gründungsvizepräsidentin der UTN hab ich die Chance, hier ein neues Fundament für eine gesamte Uni zu legen. Wird das Gelingen? Ist dieser Ansatz, den ich hier vorstelle, eine erfolgsversprechende Option dafür? Hier können sich die TeilnehmerInnen an dieser Entwicklung beteiligen.
Mathematikunterricht in 1zu1 Ausstattungen.pptxFlippedMathe
Wie geht guter Mathematikunterricht? Und jetzt auch noch mit Tablet/Laptop? In dieser Fortbildung soll es genau darum gehen.
Sebastian Schmidt kennt vielleicht nicht Ihre persönliche Antwort auf guten (digitalen) Mathematikunterricht, aber er hat seit 2013 versucht, mit digitalen Hilfsmitteln seinen Unterricht kompetenzorientierter zu gestalten. Die Digitalisierung von Unterricht hat immer die Problematik, das Lernen der Schülerinnen und Schülern aus dem Fokus zu verlieren. Diese sollen digital mündig werden und gleichzeitig Mathematik besser verstehen.
In dieser eSession werden zahlreiche Methoden, Konzepte und auch Tools vorgestellt, die im Mathematikunterricht des Referenten erfolgreich eingesetzt werden konnten. Nicht alles kann am nächsten Tag im Unterricht eingesetzt werden, aber man erhält einen Überblick, was möglich ist. Sie entscheiden dann selbst, worauf Sie Ihren Fokus legen und wie Sie selbst in die 1:1-Ausstattung starten.
Lassen Sie sich überraschen und nehmen Sie mit, was für Sie sinnvoll erscheint. Auf der Homepage von Sebastian Schmidt gibt es neben Links und Materialien zur Fortbildungen auch Workshops fürs eigene Ausprobieren. https://www.flippedmathe.de/fortbildung/mathe-ws/
9. • Monodie
• Generalbass
Sologesang mit sparsamer, meist akkordischer Instrumentalbegleitung
(Generalbass)
auch Basso continuo = fortlaufender / ununterbrochener Bass
Entspricht der tiefsten Instrumentalstimme mit zur Melodie und zum
musikalischen Verlauf passenden Akkorden
wird nicht ausgeschrieben, sondern mit Ziffern über den Noten der
Generalbassstimme angegeben
11. J. S. Bach: Herr, nicht schicke deine Rache
Johann Sebastian Bach
(1685 – 1750)
12. • Oper
1607: L‘Orfeo von Claudio Monteverdi – gilt als erste Oper
Monteverdi: „Dal mio Parnasso“ aus L‘Orfeo
Claudio Monteverdi
(1567 – 1643)
Händel: „Tornami avagheggiar“ aus Alcina
Georg Friedrich Händel
(1685 – 1759)
13. • Oper
neben den „normalen“ Stimmlagen
auch Kastraten als Sänger in der
Barockoper
Terziani: „Hostias et preces“,
gesungen von Allessandro Moreschi,
1904
Farinelli, italienischer Kastrat (1705 – 1782)
14. • Instrumentalkonzert
musikalisches Werk, bei dem ein oder mehrere von einem Orchester
begleitete Soloinstrumente im Mittelpunkt stehen
konzertantes Prinzip: Zusammenwirken bzw. Wetteifern von Stimmen
Ursprung im Concerto grosso
Soli / Solo (Concertino) Tutti / Orchester (Ripieno)
16. • Oratorium
mehrteilige Vertonung einer meist geistlichen Handlung, verteilt auf
mehrere Soli, Chor und Orchester
wird im Gegensatz zur Oper konzertant und traditionell in kirchlicher
Umgebung aufgeführt
18. nach dem Ende des Barockzeitalters wurde Barockmusik als veraltet
angesehen und nicht mehr aufgeführt
nur Händels Oratorien gerieten nicht in Vergessenheit und wurden bis
zum Beginn des 19. Jahrhunderts aufgeführt
19. Wiederentdeckung der Musik von
Johann Sebastian Bach durch die
Wiederaufführung der
Matthäuspassion durch Felix
Mendelssohn Bartholdy 1829
Felix Mendelssohn Bartholdy
(1809 – 1847)
20. • dtv-Atlas zur Musik
• Die Musik in Geschichte und Gegenwart
• The New Grove Dictionary of Music and Musicians
• www.wikipedia.de
• Heimbuchers CD-Archiv